InVisible freedom fighter: a critical analysis of portrayals of women in archival photographs, independence monuments and contemporary art in Zambia (Northern Rhodesia) and Zimbabwe (Southern Rhodesia)

Abstract

This doctoral dissertation in art history develops a notion of invisibility by critically analysing processes in which narratives about women are either concealed or uncovered in visual portrayals relating to the independence of Zambia (former Northern Rhodesia) and Zimbabwe (previously Southern Rhodesia). This study concentrates on three main visual categories that include archival photographs, national monuments, and visual art. It critically engages with concepts of memory and history through a framework of gender. The concept of invisibility developed in this thesis articulates a dynamic process in which independence narratives evolve over time, sometimes revealing memories associated with women and at other times rendering women invisible. National liberation in many African states is dominantly accredited to the political parties that were in power at the time of independence. In Zambia, the United National Independence Party (UNIP) is acknowledged for spearheading efforts to overthrow the colonial administration, while in Zimbabwe it is the Zimbabwe African National Union "“ Patriotic Front (ZANU "“ PF). Both political parties were headed by men, and the majority of their memberships was also comprised of men; as such, the dominant narratives largely illuminate the stories of men associated with these political parties. The overarching argument of this doctoral dissertation is that there is a gender bias inherent in dominant independence struggles narratives that are communicated through cultural heritage sites such as monuments and archives. In this study, art and art making inform theory as the methodological approach takes the direction in which selected artworks and visual materials are employed as a starting point of considering concepts that relate to the visibilities of stories about women. This approach cogitates the function of art, visual culture, and art history in the production of knowledges that foster in-depth understandings of concepts that explain social phenomena such as historical erasure. This doctoral dissertation in art history is divided into two parts, A and B, that conceptually complement each other. In section A which comprises of chapters one and two, the study develops an alternative visual archive that surveys the involvements of six specific women in the attainment of national independence in their respective countries, and critically analyses the Freedom Statue in Zambia and the National Heroes Acre in Zimbabwe as monuments dedicated to commemorating the independence struggle in the two countries. In Chapters three to five which form the second section of this dissertation, the emphasis of the discussion is on how selected visual artworks of three selected artists disrupt, counter or engage with dominant historical accounts that either exclude or marginalise narratives about women. The three artists include myself, Gladys Kalichini, and Zimbabwean born artists Kudzanai Chiurai and Gresham Tapiwa Nyaude. This thesis offers a culturally rich conversation about visual representations of social, political and cultural roles women performed in the colonial times in Northern and Southern Rhodesia and gives insight into the evolution of the luminosity of contemporary performances of women's social collectives in Zambia and Zimbabwe.